Review

As raindrops turned to sheets on the morning of June 12, it was looking as if the West 18th Street Fashion Show would break from tradition and be moved indoors for the first time in its 10-year history. Just at the critical moment, however, the sky cleared up and the sun whisked away all traces of gloom. This year’s decidedly sultry dusk set the stage for a line-up of diverse collections from local and national fashion designers, including nine new to the runway. Famed photographer Edward Steichen was cited as inspiration for this year’s event — an apt homage considering his pivotal role in recontextualizing and elevating the status of fashion design within the fine arts. The reference is timely as well — coinciding with the Nelson-Atkins Museum of Arts' current exhibition, Edward Steichen — In High Fashion: The Conde Nast Years 1923-1937 (the show is up through July 25).

The evening sailed into full swing with a haunting rendition of "Dream Boats," performed by The People’s Liberation Big Band, and featuring vocals by Shay Estes. The song was arranged by Charlotte Street Award winner Brad Cox, and drawn from Musical Director/Show Producer Mark Southerland’s installation operetta — Moon Bears and Sister Wives. The Big Band continued to play throughout the course of the runway show — with endless improvisations custom tailored to best suit the designs on stage.

Slideshow of featured designers:

Bold graphics and a strong linear quality characterized the first featured designer of the evening, Sarah Nelsen. Nelsen is also a full-time graphic designer, who utilized fabrics printed with her own graphic artwork. Each model wore black sparkly lips and high-color cheeks, the repetition of which led to the graphic iconization of a Face. In a cheeky and self-referential move, Nelson illustrated this Face and then printed it on one of the tunics featured in her collection.

Next up was another debut designer, Cheryl Eve. Her caryatid-like models wore all white, which effectively showcased the striking metal adornments handcrafted by Eve. Ethereal and integrated, her collection balanced soft, airy fabrics with coral-inspired metal bracelets, clasps, cuffs, and surprising leg appliqués.

Spool Boutique and Shannon Bailey both presented selections of charming garments with a light-hearted style. Floral hair adornments worn by Spool models mimicked the print of the fabrics, harkening springtime, picnics, and all-around, dress-up fun. The addition of painted-on silver and gold eye masks firmly placed the emphasis on play. Bailey’s collection showed mostly white and pink hues, with eyelet details and an overall sweetness. Both collections centered on the comfortable, the girly, and the very flattering.

The plushy works of Amanda Nervig were irresistibly sanguine. In an eclectic and knitted style showcasing loops of heavy yarn, Nervig somehow managed to effectively create summer attire out of materials usually reserved for the colder seasons. Bold colors and a '70s style dominate the collection, which was inspired by the illustrations of Charlie Harper. A hooded-sweater-tank-top epitomized Nervig’s creations, which are for those of you that crave that cozy feeling, even when it’s way too hot for sweaters.

Veterans to the West 18th Street Fashion Show, Sara Emami and Jovana Mirabile clearly have a knack for creating designs that flatter. Emami utilized a wide range of challenging materials — at times blending satins, lace, chiffon, and taffeta into a single garment. Her flowy, detail-laden work formed a distinct contrast to the bold sculptural quality of Mirabile. A voluminous blue coat designed by Mirabile appeared almost directly taken from a model in one of Steichen’s photographs. Potent and structured, her designs have a resolute quality far from forgettable.

In the age of iPad, why should a garment do just one thing? Katie Coble quickly resolved this disparity, astounding viewers with origami dresses that turn into large shopping bags, or a vest that is also a cape/tank top/bolero/shawl. Coble’s work is clearly driven by instability, flux, and the "wearer as performance." By folding, tucking, snapping, and twisting, her fashions are capable of a limitless functionality.

Bringing bohemian back with a fresh and modern twist, Kaylin Hertel presented dresses, skirts, and rompers that proved that mixing patterns can be a good thing, when done exactly right. Bright pops of color were introduced through succinct details, such as fabric piping or side-ties, allowing just the right amount of funk to set off the unequivocalness of the standard cotton print.

Up next, Liz Peters sent brightly-tressed models down the runway. Utilizing reverse appliqué and geometric patterns, Peters presented a style that was both futuristic and very old-school (i.e. from medieval times). Black pleather was mixed with neon spandex, and intricate quilted details added heaps of visual interest. Peters was inspired to "re-invent quilting and other 'old' techniques."

Diverging entirely from Peters' aesthetic, Tricia Rock designed a collection of '20s-inspired garments that sheathed models in large expanses of flat color. Her slightly off-beat works bring to mind early art deco fashions. Each garment was constructed entirely out of reclaimed fabrics, which added to the vintage vibe. Rock is a self-taught designer based in Lawrence, and this was her first time as a featured designer at the West 18th Street Fashion Show.

Rachel Rolon’s bedazzled collection was entitled "Lotus Eaters," perhaps inspired by the mythological group of island dwellers with a penchant for narcotics. Her diamond-encrusted affair brought to mind the similar excessiveness of contemporary artist Damien Hirst’s "For the Love of God." Rolon’s aesthetic of lavish costume jewelry mixed with sport (fencing, gladiator fights) was accentuated by her choice of a limited palette of black and white. A plethora of odd accessories cleaved to her attire, including amputated doll arms clutching strands of faux pearls and over-blown chains attached to metal cuffs. A performative element was present as well. At the end of the runway, models would pull various antics, at times regurgitating pearls or casting heaps of glitter into the crowd.

Maegan Stracy extended a collection of pastel-hued semi-opaque garments, accompanied by tall matching fezzes. Inspired by '80s club culture and '90s rap culture, Stracy was interested in "the playful layering of past trends." The frothy attire included see-through bloomers, leggings paired with tunics, and signature tie-dyed chiffon.

Emma Burgess-Olson and Lauren Fallis collaborated to produce a series of works inspired by modern painting and post-modern sculpture. This collection, entitled "Femto," meaning one-quadrillionth, covered opulent satins and lace with a dusty veneer. In the spirit of decadence-gone-to-decay, channeling literary character Miss Havisham, elegant satin gowns were layered with crocheted cobwebs and lace. Flat and pale makeup, accompanied by heavily powdered hair, played off the powdered doughnuts the models snacked on while sauntering down the runway.

Nataliya Meyer and Jamilah Knight both showed strong, slick collections at this year's event. Meyer's Old West-meets-Goth style featured breathtaking brocades, clever corsets, and stunning silhouettes. The darker hues featured in Meyer’s work were suitably teamed with Gothic accessories by Faith Evangeline of Evil Pawn Jewelry. Though also keen on the dramatic, Jamilah Knight offered a more practical, real-world line of apparel. Knight aptly used broad swaths of black to set off slashes of vibrant color. Unexpected compositions and complex, sculptural skirts were hallmarks of her collection.

Approaching the end of the evening, front-row spectators were prompted to don the plastic ponchos supplied to them earlier. Nervous anticipation followed. Never a shy designer, Peggy Noland strutted down the runway a profoundly gluttonous series of oozing, abject, and over-abundant works. Modeled by members of the performance group Whoop Dee Doo, the designs undulated past spectators, leaking refuse along the way. The boundless bounty of items enmeshed with one another was satirically referenced in a cornucopia-turned-hat worn by one of the models. Once an impromptu dance was complete, a sacrificial stuffed parrot was paraded ceremoniously back to the stage.

Have you ever wondered what it would be like to step inside the carefree, fete galante world of a Rococo painting? On Saturday night, viewers had a real-world taste of what that might be like. In sharp contrast to pointedly foul nature of Nolands’ work, Birdies Boutique offered a sweet finish to the show. Models toted delicate bamboo parasols, perched high above scanty swimwear, bracelets of pink satin white-feathered eyelashes, and dessert-themed hats. This year’s collection was inspired by the confectionary paintings of Will Cotton.

Host Corrie Van Ausdal concluded the event by thanking producers Ashlee Broome (executive producer), Ryan Gove, Peregrine Honig (watch her on Bravo’s Work of Art, airing now), Danielle Meister, Sarah Snodgrass, Mark Southerland (also musical director), and Kathleen Cheevers. Musical performers Mark Southerland, Brad Cox, Shay Estes, Beau Bledsoe, Helen Gillet, Sait Arat, Josh Adams, and Josh Powers were also commended. Long after the lights went down, the street was still abuzz with activity, as viewers lingered and mingled to debate the challenging and stunning designs presented throughout the evening. Many of the designs exhibited a whimsical notion of decadence, deftly escaping current economic uncertainty into a world of opulent splendor. A handful of collections took a different route, conjuring up the dark or comical side of an excessively materialistic culture. Nevertheless, the designers surely succeeded in spurring conversation through their thrilling and memorable collections. Contrary to the roots of the word decadence — from the Late Latin decado, meaning to sink or fall–this year’s place within the legacy of Annual West 18th Street Fashion Shows certainly will not.

-re-

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